DOCSLIB.ORG

Touring NZ 15

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Touring NZ 15 - 22 March 2017 STAY IN THE LOOP Sign up to our monthly email newsletter to receive the latest news, concert reminders, and inside stories plus be in to win with giveaways and special offers. SIGN UP: chambermusic.co.nz/intheloop JOIN THE CONVERSATION Like, Post, Follow, Tweet, Comment, send us a message. There’s a great community out there ready to chat and we want to hear from you! PRELUDE SERIES Do you want more out of your concert experience? Come along to our free CMNZ Prelude Series. Enjoy artist Q&A sessions, pre-concert talks, panel discussions and Open Stage performances. For more information: 0800 CONCERT (266 2378) chambermusic.co.nz/prelude Programme Ciaccona Wondrous machine! Maurizio Cazzati (From: Hail! Bright Cecilia Z. 328, 1692) Instrumental Vincenzo Cappezuto Music for a while Two upon a Ground (From: Orpheus Britannicus, Vol. II, Z. 583 no. 2, 1702) (Chaccone from: ‘Diolclesian’) Céline Scheen Instrumental ‘Twas within a furlong of Edinborough Town Here the Deities approve (From: The Mock Mariage, Z. 605/2, published in the Third (From: Wellcome to all pleasures, 1683) book of ‘Deliciæ Musicæ’, London by Henry Playford, 1696) Vincenzo Capezzuto Vincenzo Capezzuto Canario La Dia Spagnola Improvisation Nicola Matteis Instrumental Instrumental Man is for woman made A Prince of glorious race descended (From: A Song in the Mock-Mariage, Sung by Miss Cross.) (From: Orpheus Britannicus, 1702) Vincenzo Cappezuto Céline Scheen Curtain Tune on a Ground One charming night (From: Timon of Athens, Z.632) (From: Secresy’s Song, from The Fairy Queen, an operatic Instrumental adaptation of Shakespeare’s Midsummer Night’s Dream, Z. 629 no. 13 published in Orpheus Britannicus, Vol. II, 1692) O, let me forever weep (The plaint) Vincenzo Capezzuto (From: The Fairy Queen, an operatic adaptation of Shakespeare’s Midsummer Night’s Dream published in Ah ! Belinda Orpheus Britannicus, Vol. II, 1692, Z. 629 no. 40, 1702) (From: Dido and Aeneas, Z. 626, no. 37, published in Céline Scheen Orpheus Britannicus, 1702) Céline Scheen Hark ! how the songsters of the grove (From: published in Orpheus Britannicus, Vol. II, 1692, Z. An EVENING HYMN on a ground 629 no. 40, 1702) (From: Harmonia Sacra, &c. The First BOOK, Z. 193) Céline Scheen, Vincenzo Capezzuto Vincenzo Capezzuto Strike the viol Duration 85 minutes without intermission – Programme (From: Orpheus Britannicus Book I, 1706) changes reserved Céline Scheen When I am laid (Dido’s Lament) (From: Dido and Aeneas, Z. 626, no. 37, published in Orpheus Britannicus, 1702) Céline Scheen Wed 15 March / Auckland Town Hall Fri 17 March / MTG Century Theatre, Hawke’s Bay Sat 18 March / Michael Fowler Centre, Wellington Auckland concert presented in association with Mon 20 March / Charles Luney Auditorium, Christchurch Wednesday 22 March / Glenroy Auditorium, Dunedin The Auckland concert is being recorded for broadcast by RNZ Concert Kia ora tātou Inigo Jones (who designed the Whitehall Banqueting House and St Paul’s Church in Covent Garden) imported the first theorbo to England from Italy. He was interrogated by customs officials who suspected that the unfamiliar object in the case might be some strange weapon. (Plus ça change! Violinists worry these days every time they have to board a plane with their instruments as hand luggage.) I’ve adored the theorbo and its near-cousin the archlute ever since I first came across these beautiful instruments in the 70s. It wasn’t its appearance – the extended neck supporting long resonant strings – but the sheer beauty of sound that appealed to me. What a treat it is to have Christina Pluhar and her brilliant colleagues with us to let us hear the rich sound of Baroque plucked strings. But there’s more. I am so looking forward to hearing really fine cornetto playing, wonderfully stylistic singing . and more. L’Arpeggiata’s Music for a While programme is about far more than exotic early instruments. For this programme this wonderful ensemble includes some outstanding jazz musicians to produce an enchanting and sometimes elusive stylistic blend. I’m sure that you will love this concert. So, welcome to CMNZ’s 2017 “Music Up Close” Kaleidoscopes season. I give you a personal promise that every concert in the series will be of the highest quality and yet very different from every other concert. What we’ve tried to offer you is an intriguing and highly enjoyable ready-made selection of great music covering a broad stylistic range. This is a subscription package that is varied and distinctive. Enjoy tonight – and I look forward to seeing you back at other Chamber Music New Zealand concerts in 2017. Peter Walls Chief Executive Chamber Music New Zealand Please respect the music, the musicians, and your fellow audience members, by switching off all cellphones, pagers and watches. Taking photographs, or sound or video recordings during the concert is strictly prohibited unless with the prior approval of Chamber Music New Zealand. Music for a while Improvisations on Henry Purcell Not For Puritans Henry Purcell and the musical theatre of the Restoration The British are renowned for their understatement, but perpetual singing’, the journalist Peter Anthony Motteux the prefaces to the scores of Henry Purcell’s music for opined in the Gentleman’s Journal in 1692; plays that the stage display what is, even by British standards, an consisted solely of singing were simply ‘unnatural’. Yet extreme form of rhetorical self-deprecation. In the 1690 there was a good deal of singing on English stages, and it preface to The History of Dioclesian, ‘Orpheus Britannicus’ was much appreciated. Purcell’s catalogue of works alone portrayed the cultural level of his compatriots in these contains some two hundred songs drawn from incidental words: ‘Thus being farther from the sun, we are of later music for the theatre; to this we must add fifty-seven growth than our neighbour countries, and must be ‘catches’ for convivial singing, twenty-four odes for festive content to shake off our barbarity by degrees.’ And in the occasions, and more than one hundred other songs. preamble to The Fairy Queen we read: ‘I despair of ever To understand the idiosyncratic path followed by the having as good voices among us, as they have in Italy.’ So performing arts in England in Purcell’s day, we must take is the old prejudice ‘Anglia non cantat’ (England doesn’t a look at the historical context. His lifetime (1659–95) sing) correct? Or should Purcell’s coy complaints rather coincides almost exactly with the period known as the be seen as an expression of national waywardness? For Restoration. When Purcell was born, the rule of the in the seventeenth century, while opera was setting Puritans was drawing to a close. Public performances out on its triumphal march all over Europe, the insular of spoken theatre were banned under the republican Eurosceptics chose a path of their own: the idea of a zealots, but not musical plays. As a result, many wholly sung theatrical performance – which constitutes resourceful men of the theatre fitted out their plays with the very essence of opera – was completely unthinkable as many musical numbers as were required for them to in the land of Shakespeare and Marlowe. ‘Experience pass as musical drama. This was a stopgap solution, but hath taught us that our English genius will not relish that it prepared the ground for a specifically English form of Christina Pluhar, Theorbo & Musical Direction musical theatre. After the end of the Puritan era in 1660 In the former their tastes ran to the saucy and frivolous. the pent-up demand for entertainment must have been At Charles express command, the female roles were now enormous, and the new King, Charles II, set his subjects played by women and not by boys in drag; Nell Gwyn, the an example of how to enjoy life. Charles had developed a star of the Drury Lane Theatre, became the most famous taste for French ways during his exile. Following the model of his many mistresses. Among other later highlights of of his Parisian counterpart, he procured himself a crack this art form were the so-called ‘ass epilogues’, speeches string orchestra of twenty-four players for his court music delivered direct to the audience (and to the animals and appointed a French-trained composer to direct it; he in question) from the back of a live donkey. The heroic relished guest performances by an Italian opera company, drama, on the other hand, captivated more by means of and sent English theatrical personalities on study trips to spectacular scenery and effects. London did not have an Paris. Charles’ cultural policy formed part of his strategy opera house of its own at this period; such a thing was of rapprochement with the great Catholic power on the hardly necessary, since musical theatre was a branch other side of the Channel – and for that very reason was of the spoken theatre. The principal roles were spoken, probably doomed to failure. In any case, neither the while specially hired singers took on supporting roles. In French nor the Italian variety of opera found sympathetic addition to the many musical and dance numbers, so- listeners among his subjects. called ‘masques’ were inserted between the acts. These sung, danced, and opulently staged plays-within-the-play Instead of opera, it was the English theatre that were a relic of the English court art of earlier times, which gained a new lease of life during Charles’ reign. Two in this way was salvaged for Purcell’s contemporaries. companies of players to which he had awarded letters An attempt was also made to preserve the heritage of patent, placed under the patronage of the King and his the Elizabethan theatre by transforming Shakespeare’s brother James, Duke of York (later James II) respectively, classics into fashionable extravaganzas, with scant regard competed for the public’s attention in London.
Recommended publications
  • Season of 1705-1706{/Season}

    Season of 1705-1706{/Season}

    Season of 1705-1706 anbrugh’s company began the autumn back at Lincoln’s Inn Fields V while they awaited completion of the theatre they had opened with a conspicuous lack of success the previous April. When the Queen’s Theatre in the Haymarket reopened on 30 October with the première of Vanbrugh’s own The Confederacy (a solid success), competition on something like an equal basis was restored to the London theatre for the first time since the union of 1682. Bitter as the theatrical competition of the late 1690s had been, it was always unequal: Rich had enjoyed two good theatre buildings but had to make do with mostly young and second-rate actors; the cooperative at Lin- coln’s Inn Fields included practically every star actor in London, but suffered from a cramped and technically inadequate theatre. By the autumn of 1705 the senior actors had become decidedly long in the tooth, but finally had a theatre capable of staging the semi-operas in which Betterton had long spe- cialized. Against them Rich had a company that had grown up: among its members were such stars as Robert Wilks, Colley Cibber, and Anne Oldfield. The failed union negotiations of summer 1705 left both managements in an ill temper, and for the first time in some years both companies made a serious effort to mount important new shows. Competition was at its hottest in the realm of opera. Under the circum- stances, this was hardly surprising: Betterton had been hankering after the glory days of Henry Purcell’s semi-operas since he was forced out of Dorset Garden in 1695; Vanbrugh was strongly predisposed toward experimenting with the new, all-sung Italianate form of opera; and Christopher Rich, having evidently made fat profits off Arsinoe the previous season, was eager for an- other such coup.
  • Memoirs of the City of London and Its Celebrities (Volume 1)

    Memoirs of the City of London and Its Celebrities (Volume 1)

    Memoirs of the City of London and Its Celebrities (Volume 1) By John Heneage Jesse CHAPTER I TOWER HILL, ALLHALLOWS BARKING, CRUTCHED FRIARS, EAST SMITHFIELD, WAPPING. Illustrious Personages Executed on Tower Hill Melancholy Death of Otway Anecdote of Rochester Peter the Great Church of Allhallows Barking Seething Lane The Minories Miserable Death of Lord Cobham Goodman's Fields Theatre St. Katherine's Church Ratcliffe Highway Murders of the Marrs and Williamsons Execution Dock Judge Jeffreys Stepney. WHO is there whose heart is so dead to every generous impulse as to have stood without feelings of deep emotion upon that famous hill, where so many of the gallant and the powerful have perished by a bloody and untimely death ? Here fell the wise and witty Sir Thomas More ; the great Protector Duke of Somerset ; and the young and accomplished Earl of Surrey ! Here died the lofty Strafford and the venerable Laud ; the unbending patriot, Algernon Sidney, and the gay and graceful Duke of Monmouth ! Who is there who has not sought to fix in his mind's eye the identical spot where they fell, the exact site of the fatal stage and of its terrible paraphernalia ? Who is there who has not endeavoured to identify the old edifice ' from which the gallant Derwent water and the virtuous Kenmure were led through avenues (j.soldief$' fo-.ihfe.folock ? or who has not sought .forthe. -bouse '{adjeining the scaffold " where the gferitle 'Kilmameck'* breathed his last sigh, and where the intrepid Balmerino grasped affectionately, and for the last time, the
  • Research Guide for Archival Sources of Smock Alley Theatre, Dublin

    Research Guide for Archival Sources of Smock Alley Theatre, Dublin

    Research Guide for Archival Sources of Smock Alley theatre, Dublin. October 2009 This research guide is intended to provide an accessible insight into the historical, theatrical and archival legacy of Smock Alley theatre, Dublin. It is designed as an aid for all readers and researchers who have an interest in theatre history and particularly those wishing to immerse themselves in the considerable theatrical legacy of Smock Alley theatre and it’s array of actors, actresses, directors, designers, its many scandals and stories, of what was and is a unique theatrical venue in the fulcrum of Dublin’s cultural heart. Founded in 1662 by John Ogilby, Smock Alley theatre and stage was home to many of the most famous and talented actors, writers and directors ever to work and produce in Ireland, England, Scotland and Wales, throughout the seventeenth and eighteenth century. Celebrated players included Peg Woffington, David Garrick, Colley Cibber, Spranger Barry and George Ann Bellamy. Renowned managers and designers such as John Ogilby, Thomas Sheridan, Louis De Val and Joseph Ashbury would help cement the place of Smock Alley theatre as a venue of immense theatrical quality where more than just a play was produced and performed but more of a captivating, wild and entertaining spectacle. The original playbills from seventeenth century productions at Smock Alley detail many and varied interval acts that often took place as often as between every act would feature singing, dancing, farce, tumbling, juggling and all manner of entertainment for the large public audience. Smock Alley was celebrated for its musical and operatic productions as well as its purely dramatic performances.
  • A Re-Examination of Spectacle and the Spectacular in Restoration Theatre, 1660-1714

    A Re-Examination of Spectacle and the Spectacular in Restoration Theatre, 1660-1714

    Changing Scenes and Flying Machines: A Re-examination of Spectacle and the Spectacular in Restoration Theatre, 1660-1714 Lyndsey Bakewell A Doctoral Thesis Submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy at Loughborough University October 2015 ©Lyndsey Bakewell, 2015 i Abstract Changing Scenes and Flying Machines: A Re-examination of Spectacle in Restoration Theatre, 1660-1714. Key words: Restoration Theatre, Spectacle, Plays, Machinery, Scenery, Costumes, Performers, Puppetry, Automata, Special Effects. This thesis builds upon the existing scholarship of theatrical historians such as Robert D. Hume, Judith Milhous and Jocelyn Powell, and seeks to broaden the notion of the term spectacle in relation to Restoration theatrical performances, as defined by Milhous as scenery, machinery, large cast sizes and music.1 By arguing that we should not see spectacle in Restoration theatre merely in terms of machinery and scenery, as some have done, but that it properly includes a wider range of elements, such as puppetry and performers, the thesis contends that spectacle on the Restoration stage was more of an integral aspect of theatrical development than previously thought. Through drawing on the wide aspects of theatrical presentation, including setting, stage use, mechanics, costumes and properties, puppetry and performers, this thesis examines how the numerous aspects of the Restoration performance, both in their singularity and as a collective, provided a performance driven by spectacle in order to create an appealing entertainment for its audience. In order to navigate and appreciate the complexity of theatrical performance in this period, the thesis has been divided into key aspects of theatrical presentation, each of which are argued to offer a variant of spectacle.
  • Traducciones Inglesas Del Quijote: La Traducion De Motteux

    Traducciones Inglesas Del Quijote: La Traducion De Motteux

    TRADUCCIONES INGLESAS DEL QUIJOTE: LA TRADUCION DE MOTTEUX Carmelo Cunchillos Jaime Como toda obra clásica, el Quijote ha sido interpretado diferentemente según las distintas épocas y puede decirse que cada momento histórico ha buscado y, generalmente, ha encontrado en esta obra cervantina aquello que sus lectores ansiban encontrar. La traducción que dirigió Pierre Motteux entre 1700 y 1703 pertenece al grupo de versiones, estudios, parodias, imitaciones, etc., que desde finales del siglo XVII se realizaron en Inglaterra coincidiendo con el retorno de su exilio en Francia de los caballeros y aristócratas ingleses en 1660. A partir de esta fecha se opera un cambio no sólo cuantitativo sino cualitativo en el tipo de receptores de la obra . El Quijote será leído por más gente, pero, sobre todo, por personas más cualificadas que saben apreciar mejor los valo­ res de la novela; un hecho significativo es que aproximadamente por estos años comenzamos a encontrar el uso del adjetivo "great" para calificar a la obra y a su autor. Con el advenimiento del siglo XVIII, siglo de la razón y de las luces, pero también de la sátira, el Quijote se convirtió en un libro verdaderamente popular, ampliamente leído y estudiado por las diferentes capas sociales inglesas. Además de las nuevas traducciones y de los estudios críticos que se llevan a cabo, el siglo XVIII abunda en alabanzas y comentarios enco­ miásticos provenientes de personajes de gran relevancia en el orbe literario. Pope, el Dr. Johnson, Steele, Adison, Temple, Wharton, Locke, Arbuth­ not, Lady Montague, por sólo acitara los más representativos, manifestaron haberse divertido con su lectura y lo catalogaron como uno de los más gran­ des libros producidos por la humanidad.
  • Proceedings of the Huguenot Society of London (1885-1985) Proceedings of the Huguenot Society of Great Britain and Ireland (1986-2012)

    Proceedings of the Huguenot Society of London (1885-1985) Proceedings of the Huguenot Society of Great Britain and Ireland (1986-2012)

    Contents of: Proceedings of the Huguenot Society of London (1885-1985) Proceedings of the Huguenot Society of Great Britain and Ireland (1986-2012) Vol I 1885-1886 By-Laws 1 Session of 1885 INAUGURAL MEETING, 15 April 1885 8 SECOND, ORDINARY MEETING, 13 May 1885 16 THE REGISTERS OF THE FRENCH AND WALLOON CHURCHES ESTABLISHED IN ENGLAND, and other sources of Huguenot knowledge, with some suggestions for the editing and publication of the same. BY W J C MOENS, Member of Council. 17 FIRST ANNUAL MEETING, 10 June, 1885. 60 Session of 1885-6 FIRST ORDINARY MEETING, 11 Nov., 1885. 69 Report of the Council on the CELEBRATIONS AT BETHNAL GREEN CHURCH, AND AT THE FRENCH PROTESTANT HOSPITAL, OF THE BI-CENTENARY OF THE REVOCATION OF THE EDICT OF NANTES. 72 JEHOVAH-JIREH - THE LORD WILL PROVIDE; a sermon preached by the REV. JOHN GRAVES, MA. 73 THE BEARING OF THE REVOCATION OF THE EDICT OF NANTES ON THE ENGLISH REVOLUTION OF 1688. By the HON. and REV. CANON FREMANTLE. 79 THE FLIGHT OF THE HUGUENOTS. By EDWARD ERNEST STRIDE, Member of Council 83 A HUGUENOT RELIC : A description of an ivory box, bearing on its lid the arms of Charles de Nocé and Marguerite de Rambouillet. By LIEUT.-GENERAL F. P. LAYARD, Member of Council 92 LES EGLISES FRANCAISES DE LONDRES APRES LA REVOCATION. By M. le BARON FERNAND DE SCHICKLER, President de la Societe de l'histoire du Protestantisme Français. 95 SECOND ORDINARY MEETING, 13 Jan, 1886. 116 GENEVA, THE PROTESTANT CITY OF REFUGE. By William Westall 117 REFUGEE INSCRIPTIONS IN THE CATHEDRAL AND CHURCHES OF CANTERBURY.
  • University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St

    University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St

    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The siÿï or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.

  • Eccles the Judgment of Paris • Three Mad Songs

    Eccles The Judgment of Paris • Three Mad Songs Lucy Crowe Claire Booth Susan Bickley Benjamin Hulett Roderick Williams Early Opera Company CHAN 0759 CHANDOS early music CHRISTIAN CURNYN John Eccles (c. 1668 –1735) first complete recording The Judgment of Paris or the Prize Music A Masque First performed at Dorset Garden on 21 March 1701 Published by John Walsh and John Hare (1702) Mercury, messenger of the gods Roderick Williams baritone Paris, a shepherd Benjamin Hulett tenor Juno, goddess of marriage Susan Bickley mezzo-soprano Pallas, goddess of war Claire Booth soprano Venus, goddess of love Lucy Crowe soprano Chorus Chorus of Early Opera Company Three Mad Songs from A Collection of Songs published by John Walsh and John Hare (1704) ‘Restless in Thought disturb’d in Mind’ Lucy Crowe soprano ‘Love’s but the frailty of the Mind’ Claire Booth soprano ‘I Burn, I burn, my Brain consumes to Ashes’ Susan Bickley mezzo-soprano Facsimile of the frontispiece to the original edition of Early Opera Company John Eccles’s ‘The Judgment of Paris’ Christian Curnyn 3 Time Page Time Page The Judgment of Paris 49:37 14 Symphony – Symphony for Mercury Juno: ‘Let Ambition fire thy Mind’ 3:31 p. 36 1 [ ] – 1:21 p. 34 15 Pallas: ‘Awake, awake, thy Spirits raise’ 1:13 p. 37 2 [ ] – 2:17 p. 34 16 Pallas: ‘Hark, hark! the glorious Voice of War…’ 1:16 p. 37 3 Slow – 1:46 p. 34 17 Pallas: ‘Oh what Joys does Conquest yield!’ 1:05 p. 37 4 Brisk 0:56 p. 34 18 Chorus: ‘O how glorious ’tis to see…’ 1:10 p.
  • Rhetoric, Translation and an Interdisciplinary Pedagogy for Transglobal Literacy

    Rhetoric, Translation and an Interdisciplinary Pedagogy for Transglobal Literacy

    Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Summer 7-16-2012 The Art of Future Discourse: Rhetoric, Translation and an Interdisciplinary Pedagogy for Transglobal Literacy Estefania Olid-Pena Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Olid-Pena, Estefania, "The Art of Future Discourse: Rhetoric, Translation and an Interdisciplinary Pedagogy for Transglobal Literacy." Dissertation, Georgia State University, 2012. https://scholarworks.gsu.edu/english_diss/94 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. THE ART OF FUTURE DISCOURSE: RHETORIC, TRANSLATION AND AN INTERDISCIPLINARY PEDAGOGY FOR TRANSGLOBAL LITERACY by ESTEFANÍA OLID-PEÑA Under the Direction of Beth Burmester ABSTRACT Theorists who have categorized translation as an imperfect and never-ending task have also questioned the legitimacy of this field over the years. It is uncommon for other disciplines to consider translation a topic of study. Except for translation classes in which students discuss in detail the nature of the translators’ tasks and their methodology, professors of other disciplines rarely address the fact that the voice of the translator is an overlooked, yet an important component of any translation. As a consequence, students around the globe read translated works without acknowledging translators’ ethos and their rhetorical situation. The consideration of this voice in those translated texts is mentioned only in passing, if at all.
  • Musa Proterva: Love-Poems of the Restoration

    Musa Proterva: Love-Poems of the Restoration

    fytmll WLumxmfy' ptag BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF Benrg W. Sage 1891 A m 7^ lAlrlort Cornell University Library PR 1213.B93 1902 Musa proterva:love-poems of the Restorat 3 1924 013 295 054 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924013295054 MUSA PROTERVA: LOVE-POEMS OF THE RESTORATION. Gay, frolic verse for idle hours, Light as the foam whence Venus sprang; Strains heard of old in courtly bowers, When Nelly danced and Durfey sang. MUSA PROTERVA LOVE-POEMS OF THE RESTORATION. EDITED BY a. h: bullen. PRIVATELY PRINTED 1902 L Note.—Four Hundred Copies printed, each numbered as issued. No. *3<f$ PREFACE. THE poems in my anthology Speculum Amantis belonged, with few exceptions, to the first half of the seventeenth century. In the present volume I have attempted to deal with the love- poetry of the Restoration and Revolution. Manners were loose in the days of " old Rowley," and poets too frequently indulged in ribaldry. 1 No sensible reader will tolerate the foul and tedious grossness of the abandoned Rochester ; and the obscenities of Restoration Drolleries have no place in honest literature. Who would care to watch a crew of goldfinders dancing round the shrine of Venus Cloacina ? By all means let us shun such unedifying spectacles ; but we need not wrap a thick cloak of prudisUhess about us and put on 1 Professor Alexandre Beljame, in the early chapters of his learned and valuable work Le Public ct les Homines de Lettres en Angleterre an Dix-huitiime Steele, discusses this subject very fully.
  • Overseas Foods and Drugs in Seventeenth Century England

    Overseas Foods and Drugs in Seventeenth Century England

    UNIVERSITY OF CALIFORNIA RIVERSIDE Foreign Infusion: Overseas Foods and Drugs in Seventeenth Century England A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History by Jillian Michelle Azevedo June 2014 Dissertation Committee: Dr. Thomas Cogswell, Chairperson Dr. Jonathan Eacott Dr. Christine Gailey Copyright by Jillian Michelle Azevedo 2014 This Dissertation of Jillian Michelle Azevedo is approved: __________________________________________ __________________________________________ __________________________________________ Committee Chairperson University of California, Riverside Dedication To my Parents and Grandparents iv ABSTRACT OF THE DISSERTATION Foreign Infusion: Overseas Foods and Drugs in Seventeenth Century England by Jillian Michelle Azevedo Doctor of Philosophy, Graduate Program in History University of California, Riverside, June 2014 Dr. Thomas Cogswell, Chairperson During the seventeenth century, the English were integrating foreign foods into their lives at an unprecedented, and previously unacknowledged, rate. This is apparent in both English homes and popular culture, as foreign foods were featured in contemporary recipe books, medical manuals, treatises, travel narratives, and even in plays performed during the period. Their inclusion in the English home and in popular culture is important; it illustrates that there was a general fascination with these foods that went beyond just eating them. When written about in travel narratives or incorporated into plays, the English were able to mentally consume such products. In this manner, they could think about, contemplate, and imagine foreign foods they may or may not have had access to, whether because of high costs or an inability to grow the product domestically. v When featured in contemporary recipe books, medicinal manuals, or treatises describing their virtues, there is an indication that foreign foods were available to the public and were being integrated into English culinary culture.
  • ©2007 Danielle Bobker ALL RIGHTS RESERVED

    ©2007 Danielle Bobker ALL RIGHTS RESERVED

    ©2007 Danielle Bobker ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION The Shape of Intimacy: Private Space and the British Social Imagination, 1650-1770 By: DANIELLE BOBKER Dissertation Directors: Jonathan Kramnick Michael McKeon “The Shape of Intimacy” explores the significance of a growing material culture of privacy to seventeenth- and eighteenth-century British literary history. In recent years, places such as the drawing room and coffee house have come to exemplify emergent norms of domestic and civil sociability. My project shifts our focus to less familiar spaces: the many variations of the closet, the period’s quintessential private room, and the carriage, sometimes characterized as the closet’s mobile counterpart. Closets and carriages, I argue, are not merely incidental settings in an increasingly quotidian literary landscape; rather, for many British writers of the period, they serve as vehicles for an array of charged and unstable extrafamilial encounters. Tracking the wide range of formal innovations and affective investigations associated with closets and carriages, my dissertation illuminates the double movement of the period’s social imagination, which retreats into real and projected intimacies even as it reaches out into ever more expansive, abstract, and anonymous public realms. The first chapter studies the convention of naming printed collections after closets and cabinets. I argue that publishers invoked these elite, exclusive spaces to affirm the cultural capital of knowledge circulating faster and further than ever before, thereby ii shoring up an enduring paradigm of reading as voyeurism. Turning from printed closets to courtly ones, Chapter Two considers the slippery navigations of power and pleasure in Anthony Hamilton’s Memoirs of Count de Gramont, suggesting that the orientalist flourishes in an intrigue set in a Restoration bathing closet – an interior Charles II had redesigned in Ottoman fashion – work to underscore the declining political stakes of homoerotic alliances.